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	The Diabelli Variations - Ludwig van Beethoven - Dominique PRÉVOT
		Variation 11 is a kind of 'liquidation variation' in at an allegretto pace and is closely related to variation 12, "almost forming a double variation based on the turn motif from the waltz." (Kinderman, 95)
		Variation 1 utilizes and emphasizes the linear voice-leading pattern in the theme, namely the ascent and decent from the third of the key - E. (Kindermen, 84) Beethoven used sustained and accented chords to emphasize his initial climb from the tonic C, to the dominant.
		Variation 20 is the "enigmatic slow variation." (Kinderman, 102) This piece is painfully slow and has almost no rhythmic movement.
	www.lvbeethoven.com /Oeuvres_Presentation/Presentation-Variations-Diabelli.html (1638 words)

	Diabelli Variations - Wikipedia, the free encyclopedia
		The 33 Variations on a waltz by Anton Diabelli Op.
		The piece was written after Anton Diabelli, a well known music publisher as well as a composer, sent a simple waltz to most of the major contemporary Viennese composers (including Schubert and the 8 year-old Liszt), asking each of them to write a variation on it.
		The Variations were composed in Beethoven's twilight years (by which time he was stone deaf), therefore being representative of the reflective, deep, cerebral style of his late period.
	en.wikipedia.org /wiki/Diabelli_Variations (359 words)

	Anton Diabelli - Wikipedia, the free encyclopedia
		Anton (or Antonio) Diabelli (September 6, 1781-April 7, 1858) was an Austrian music publisher, editor and composer.
		Diabelli produced a modest number of works as a composer, including an operetta called Adam in der Klemme, a number of masses and songs and a large number of piano and classical guitar pieces.
		In 1819, he decided to try to publish a volume of variations on a waltz he had penned expressly for this purpose, with one variation by every important Austrian composer living at the time, as well as several significant non-Austrians.
	en.wikipedia.org /wiki/Anton_Diabelli (461 words)

	BACH/BEETHOVEN Goldberg/Diabelli Variations. Joanne Kong - INKPOT
		She plays the Variations with a masterful balance between passion and precision, never sacrificing the latter for the former, and with a sustained driving rhythm that continually draws the mind back into the music from wherever it may try to wander, especially if the music is played at fairly high volume.
		The discreteness of each individual variation is maintained by identifying them all separately on the back of the case and by numbering them on the CD as separate tracks, but the unity of the work is maintained by leaving virtually no pause between the successive variations.
		The character variations display a wide variety of styles, some of which use dance patterns." It is obvious from her writing that Joanne is a professor of music (at the University of Richmond) as well as a musician.
	inkpot.com /concert/variatkong.html (1380 words)

	Sleeve Notes - Beethoven: Diabelli Variations
		Variation 23 is an étude-like parody of pianistic virtuosity alluding to the Pianoforte-Method by J B Cramer, whereas Variation 24, the Fughetta, shows an affinity in its intensely sublimated atmosphere to some organ pieces from the third part of the Clavierübung by Bach.
		In the opening bars of Variation 21, a grotesque exaggeration of the turns and repeated chords from the waltz annihilates the inward stillness of Variation 20; this most shocking contrast is placed at the temporal mid-point of the entire cycle.
		In Variation 25 the waltz is reincarnated as a humorous German dance, but this image is gradually obliterated in the interconnected series of fast variations culminating in No 28, in which harsh dissonances dominate every strong beat throughout.
	www.hyperion-records.co.uk /notes/55082.html (1273 words)

	[No title] (Site not responding. Last check: 2007-10-11)
		Variation 12, like 11 a turn based variation, is striking for the reappearance of a static bass figure and seemingly enigmatic harmony in the second half, as in Variation 3.
		In Variation 26 the rhythmic impulse is gone, the bar lines seem to disappear: we are left to ponder the beauty of a C Major triad, reaching upward as it traverses the keyboard.
		Variation 28 is a relentless series of appoggiatura chords or their ghosts, simple octave appoggiaturas: diminished seventh chords, all involving minor seconds and constituting an endless succession of tension-resolution progressions.
	pm1.bu.edu /~perrone/Perrone.CD.variations.html (3508 words)

	BEETHOVEN: Diabelli Variations / Bagatelles, Op. 126 / Rondo a capriccio (Schnabel) (1937) recommended cd collection, ...
		33 Variations in C major on a Waltz by Diabelli, Op.
		Variation 6: Allegro ma non troppo e serioso
		Variation 22: Allegro molto: Alla "Notte e giorno faticar" di Mozart
	www.naxos.com /catalogue/item.asp?item_code=8.110765 (152 words)

	artsworld (Site not responding. Last check: 2007-10-11)
		Variation 23 is an etude-like parody of pianistic virtuosity, whereas variation 24, the Fughetta, nods towards Bach.
		After Variation 28, we enter a transfigured realm, in which Diabelli's waltz, and the world it represents, seem to be left behind.
		An impressive transition leads to C major, and to the final and most subtle variation of all: a Mozartian minuet whose working-through through rhythmic means leads, in the coda, to an ethereal texture, strongly reminiscent of the famous Arietta movement of Beethoven's own last sonata, Op 111, composed in 1822.
	www.artsworld.com /genre/features.asp?ID=2874&genreID=1 (614 words)

	Los Angeles Philharmonic Association - Piece Detail (Site not responding. Last check: 2007-10-11)
		It was Diabelli's plan to solicit from the 50 greatest composers of the Austrian empire a variation from each on a single theme from his own pen, the variations to then be collected and published.
		Attending a performance of the Diabelli Variations is not a matter of scorekeeping - ticking off the variations one after another, checkmarks in the program.
		So the jaunty initial statement of the Diabelli waltz is followed by a stentorian March in the first variation and a subsequent group of cheerful manipulations of the theme or components of the theme.
	www.laphil.org /resources/piece_detail.cfm?id=711 (860 words)

	ipedia.com: Diabelli Variations Article (Site not responding. Last check: 2007-10-11)
		The Variations for piano in C major on a waltz by Diabelli, most commonly referred to as the Diabelli Variations, are a set of variations for the piano by Ludwig van Beethoven on a waltz by Anton Diab...
		The Variations for piano in C major on a waltz by Diabelli, most commonly referred to as the Diabelli Variations, are a set of variations for the piano by Ludwig van Beethoven on a waltz by Anton Diabelli.
		The piece came about after Diabelli, a well known music publisher as well as a composer, sent his waltz to a number of composers, asking each of them to write a variation on it.
	www.ipedia.com /diabelli_variations.html (248 words)

	Unheard Beethoven Search
		Sketches for Unused variations for Variations on a Waltz by Anton Diabelli op.
		120, 33 Variations on a Waltz by Anton Diabelli (1819-1823).
		Though none of these other variations was completed (as was usual for Beethoven when writing sets of variations, he would jot down only the beginning of a variation, sometimes only in one voice, leaving the development until later), many of them are highly interesting in their own right.
	www.unheardbeethoven.org /search/search.pl?piece=wittdiab.mid (2029 words)

	Tower Records - Westminster - Beethoven: Diabelli Variations, etc /Barenboim (Site not responding. Last check: 2007-10-11)
		33 Vars On A Waltz By Anton Diabelli, Op.120: Var 23: Allegro Assai
		33 Vars On A Waltz By Anton Diabelli, Op.120: Var 24: Fughetta.
		33 Vars On A Waltz By Anton Diabelli, Op.120: Var 32: Fuga.
	www.towerrecords.com /product.aspx?pfid=2520184 (615 words)

	Diabelli Variations: Facts and details from Encyclopedia Topic (Site not responding. Last check: 2007-10-11)
		The Variations for piano in C major on a waltz by Diabelli, EHandler: no quick summary.
		In music, variation is a formal technique where material is altered during repetition; reiteration with changes....
		His intention was to publish all the variations in one volume, EHandler: no quick summary.
	www.absoluteastronomy.com /encyclopedia/d/di/diabelli_variations.htm (603 words)

	TWYLA THARP: Diabelli ©
		Danced with 5 couples, Diabelli begins with parody on the waltz, Tharp’s choreographic representation of Beethoven’s apparent distaste for Diabelli’s “trivial” theme.
		Diabelli continues with a series of variations compositionally linked to the music, infused with elements of folk dance, tap, waltz, ballet, and jitterbug.
		Diabelli is dance uncompromising, boldTharp’s view of Beethoven is both honest and honorable and, no greater praise, illuminating: her way with the craggy fugue as the piece ends is a wonderfully skilled, as gesture and step and sheer force of dynamics take us nearer the marvels of Beethoven’s writing — and of Demidenko’s pianism.
	www.twylatharp.org /archive/dance_page.asp?danceSelected=117 (227 words)

	Diabelli variations from Amsterdam
		The variations 20 and 21 are missing here as well as some later variations, because they do not go as high as e of the third octave.
		Theme and variations 1, 2, 6 - 10, 14, 16, and 17 can be attributed to one session, and variations 3 - 5, 11 - 13, 15, 18, 19, 22, 23, 26, 27, 28, 31 - 33 to another.
		I just didn't care about the rest of the variations that does not contain the notes in question, but they could be analyzed in the same way using other parts of spectrum.
	fy.chalmers.se /~kulginov/Diabelli (882 words)

	Amazon.com: Beethoven: Diabelli Variations: Music: Ludwig van Beethoven,Maurizio Pollini (Site not responding. Last check: 2007-10-11)
		Variations (32) on a waltz by Diabelli, for piano in C major ("Diabelli Variations"), Op.
		Variation 20 is played with supreme abandon as an agonizing heartbeat while variation 24 (fughetta) made one regret even more that Pollini has not recorded Bach's Well tempered Klavier.
		Variation 23 is an tude-like parody of pianistic virtuosity alluding to the Pianoforte-Method by J.B.Cramer, whereas variation 24, the Fughetta, shows an affinity in its intensely sublimated atmosphere to some organ pieces from the third part of the Clavierbung by Bach.
	www.amazon.com /exec/obidos/tg/detail/-/B00004XQJX?v=glance (2298 words)

	INKPOT CLASSICAL MUSIC FEATURES: BEETHOVEN Diabelli Variations. Frith (ASV Quicksilva)
		The Diabelli Variations must be the most well-known set of keyboard variations after Bach's Goldbergs.
		In 1819, Anton Diabelli, a composer and publisher of piano music for children, wrote a simple waltz and invited the 50 most famous composers of the time to contribute a variation of it.
		The early variations stay close to the basic form of the theme, but Beethoven is willing to experiment and try radical things in the later variations.
	www.inkpot.com /classical/beethdiafrith.html (501 words)

	Beethoven: Diabelli Variations
		Beethoven's late piano works (along with the other music from the end of his life) are regarded as amongst the highest pinnacles of western music; works which are approached with caution and only after immense study by the greatest interpreters of our time.
		He has written both a study of the composer and also a whole book (the definitive guide) devoted to the Diabelli variations, however before choosing an academic path he also trained as a concert pianist and is fully equipped to tackle the pianistic hurdles of these works.
		Variation 22: Allegro molto, alla ‘Notte e giorno faticar’ di Mozart [0'47]
	www.hyperion-records.co.uk /details/55082.asp (435 words)

	Beethoven: "Diabelli" Variations. Anatol Ugorski; reviewed by Bernard D.Sherman (Site not responding. Last check: 2007-10-11)
		This variation was problematic with Richter, whose fast tempo undercut the music’s grazioso and dolce, but Ugorski goes to the other extreme with an overslow tempo.
		In particular, he fails to articulate the downbeat in the Fughetta, Variation 24, and at the beginning of the Meno allegro section of Variation 21 (although the hemiolas in bars 10-12 emerge clearly), and he plays staccato in Variation 28 only in the opening measures, instead of throughout.
		That first variation is, after all, a send-up; perhaps Ugorski’s hyper-slow tempo is an attempt to make it grotesquely funny, but instead it sounds inappropriately portentous.
	homepages.kdsi.net /~sherman/ugorski.html (786 words)

	Miami Piano Festival > Press Releases 2001
		Beethoven's Diabelli Variations, the most difficult, esoteric and profound set of variations ever written for the piano, was performed by a near-genius, Piotr Anderszewski.
		More than 50 composers responded with a brief variation, most of which were drivel, pretty figurative decorations of the silly theme.
		However, some of the slow variations were too plodding, and thus one missed the pianist's ability to make the music sing.
	www.miamipianofest.com /press/pr2001_07_21ss.htm (437 words)

	Amazon.ca: Diabelli Variations [Import]: Music (Site not responding. Last check: 2007-10-11)
		Variations IX and XI also include habanera syncopations and a sly quote from Bud Powell's bop number "Parisian Thoroughfare." In the hands of an amateur, this project would sound like a bad example of Third Stream music, but Caine's encyclopedic knowledge, humor, and ingenuity make the marriage of these great art forms sound natural.
		If you read the history of the Diabelli Variations, and realize Caine has always arranged with historical reflection in mind(see his klezmer arrangements of Mahler or his deflation of Wagner), this album has a myriad of conceivably astute qualities.
		Based on studies, one of the most bewildering aspects of the Diabelli Variations is that Beethoven felt the work had a dialetic quality which by the final variation offered the all important moment of self-reference.
	www.amazon.ca /exec/obidos/ASIN/B00006JYUE (558 words)

	Directory - Arts: Music: Composition: Composers: B: Beethoven, Ludwig van: Diabelli Variations
		Diabelli Variations: 34 Pianists · cached · Background notes on the piece in a performance guide from Northport, New York.
		The Diabelli Variations: Ludwig van Beethoven · cached · Illustrated examination of the works with commentary on specific sections by Michelle Oliver.
		Diabelli Variations : From Parody to Transfiguration · Sleeve notes from Hyperion Records by William Kinderman show the wide-ranging influence the composer and the theme had upon each other.
	www.incywincy.com /default?p=1125943 (108 words)

	Uri Caine MP3 Downloads - Uri Caine Music Downloads - Uri Caine Music Videos
		Caine, thankfully, doesn't feel that way, which is why Diabelli Variations is an interesting as it is. Recorded in Cologne, Germany in 2002, this CD finds Caine putting his spin on the compositions of Ludwig van Beethoven.
		Diabelli Variations is less daring and more straight-forward than some of Caine's other releases; none of his arrangements on this album sound like iconoclasm for the sake of iconoclasm.
		Diabelli Variations is strictly for broad-minded listeners who have no problem with the Euro-classical and jazz worlds interacting.
	www.mp3.com /albums/568589/summary.html (415 words)

	INKPOT CLASSICAL MUSIC FEATURES: BEETHOVEN Diabelli Variations. Frith (ASV Quicksilva)
		The Diabelli Variations must be the most well-known set of keyboard variations after Bach's Goldbergs.
		In 1819, Anton Diabelli, a composer and publisher of piano music for children, wrote a simple waltz and invited the 50 most famous composers of the time to contribute a variation of it.
		The early variations stay close to the basic form of the theme, but Beethoven is willing to experiment and try radical things in the later variations.
	inkpot.com /classical/beethdiafrith.html (501 words)

	ArkivMusic \| Beethoven: Diabelli Variations / Olli Mustonen
		The wonderfully dreamy Fughetta (Variation 24) reveals just how smoothly he can phrase long, legato contrapuntal lines, and when he does opt for the occasional sustained wash of color (as in the second half of Variation 4, for example), the result has all the more impact as a consequence.
		Beethoven's unity is, in a sense, built in: the consistency of phrase length, of key, the frequent references to the melodic surface of the theme.
		Even Mustonen's presentation of Diabelli's theme emphasizes the rhythmic disruptions in the left hand rather than the repeated notes in the right in a way that's utterly distinct from other similarly left-leaning, pedal-free interpretations (say, the frantic Gulda on HM, or the classically chiseled Buchbinder on Teldec).
	www.arkivmusic.com /classical/album.jsp?site_id=CTRV&album_id=9103 (788 words)

	Amazon.co.uk: Beethoven - Diabelli Variations: Music (Site not responding. Last check: 2007-10-11)
		33 Vars On A Waltz By Diabelli, Op.120: Var 1: Alla Marcia Maestosa
		33 Vars On A Waltz By Diabelli, Op.120: Var 4: Un Poco Piu Vivace
		Beethoven wrote these 33 linked pieces in response to what he regarded as a puny challenge from a publisher--to compose just one variation on a trivial little theme--and they fairly crackle with his sense of outrage: their technical difficulties are as nothing compared to the aesthetic problem of welding them into a satisfactory whole.
	www.amazon.co.uk /exec/obidos/ASIN/B00005A9NI (940 words)

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